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nections when we were stopped by soldiers who made a minute inspection of every piece of baggage and equip- ment to make sure that we were not carrying arms to the insurgents along the northern borders. Yet, almost everywhere we went, we were offered help. In Indonesia, the Government film studio, PEN, supplied eight technicians to fill out our crew for the first six weeks of filming. For the second half of the trip, Malayan Film Unit men from Kuala Lumpur replaced the Indonesians and carried on their work. At times, we had two and even three sound-camera crews filming simultaneously, sometimes close by one anothet, sometimes thousand of miles apart. Working togethet were not only Americans and Britons, but Indonesians, Malayans, Thais, Cambodians and Vietnamese, all bfing- ing fresh insights to our film. We shot the film in 35mm Eastman color, using a variety of equipment from hand cameras to studio- size blimped models. A special problem was the hot, humid climate which, if we had not taken special pre- cautions, would quickly have ruined our color film. On the trip from the United States we kept all our film packed in dry ice. Once on the scene we stored it in hotel refrigerators or ice plants or any other cool place we could find, and carried it into the field in specially cooled picnic baskets. We found our actors on the spot — farmers, fisher- men, tradesmen in the villages. They were quick to learn and made fine appearances in the film. Thete was no camera-shyness about the youthful dancers of Bali — who, by the way, have been compelled undet a new law to dress more modestly than in the past. In general, the country people seemed more at ease than Robert D. Graff (lower right) reports that during the filming of "Assignment: Southeast Asia," children like the youngsters of Bali (top right) followed the camera crews everywhere. Below, a cameraman gets a closeup of an inscription in temple of Angkor Wat, Cambodia. many of the statesmen, artists and other city folk sophisti- cated enough to feel self-conscious their first time before the cameras. In the cities, the problem was to control the curious crowds which sometimes overflowed the scene. The policemen who were assigned to help were often just as curious about us as the crowds. 85,000 Feet of Film In our three months in Southeast Asia we shot 85,000 feet of color film, which film editor Sidney Meyers is now boiling down to a 90-minute program, with narration by Mr. Michener, a script by Sheldon Stark and a musical score by Alan Hovhaness conducted by Carlos Surinach. We hope "Assignment: Southeast Asia" will whisk people to the other side of the world, immerse them emotionally in the sights and sounds of the area. If we are successful, at the end of the hour- and-a-half, people will be amazed to find themselves back in their own living rooms.